IN STRUCTIONS

GI B SON BRANDS INC . , NA SH V I L L E , T E NNE SSE E

CONTENTSIMPORTANT SAFETY INSTRUCTIONS �������������������������������������������������� 1
OVERVIEW ����������������������������������������������������������������������������������������� 2
HELPFUL HINTS � �������������������������������������������������������������������������������� 3
INSTANT GRATIFICATION ������������������������������������������������������������������� 5
TOP PANEL ���������������������������������������������������������������������������������������� 5
INPUTS � �������������������������������������������������������������������������������������������� 5
VOLUME������������������������������������������������������������������������������������������� 6
TONE������������������������������������������������������������������������������������������������ 6
REVERB�������������������������������������������������������������������������������������������� 6
TREMOLO����������������������������������������������������������������������������������������� 7
POWER SELECT (Multi-Watt)��������������������������������������������������������������� 7
POWER��������������������������������������������������������������������������������������������� 8
STANDBY������������������������������������������������������������������������������������������ 8
REAR PANEL  � ������������������������������������������������������������������������������������� 9
MONITOR � ����������������������������������������������������������������������������������������� 9
SPEAKERS (OUTPUTS) � �������������������������������������������������������������������� 10
SAMPLE SETTINGS �������������������������������������������������������������������������� 11
PLAYER SETTINGS ��������������������������������������������������������������������������� 13
TUBE CHART ����������������������������������������������������������������������������������� 14
PARTS LIST  � ������������������������������������������������������������������������������������� 15
SERVICE INFORMATION ������������������������������������������������������������������� 16

IMPORTANT SAFETY INSTRUCTIONS
1.
2.
3.
4.
5.
6.
7.

Before attempting to use this apparatus, read and follow these instructions for proper use.
Keep these instructions.
Heed all warnings.
Do not use this apparatus near water.
Clean only with a dry cloth, do not use any solvent such as benzene, naphtha or paint thinner on apparatus.
Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including other amplifiers) that
produce heat. Avoid placing the apparatus in direct sunlight.
8. Do not defeat the safety purpose of the polarized or grounding type plug. A polarized plug has two blades with one wider than theother. A grounding type plug has two blades and a third grounding prong (protective earth connection). The wide blade or third prong
is provided for your safety. If the provided does not fit your outlet, consult an electrician for replacement of obsolete outlets.
9. Be sure that the amplifier’s rated power supply voltage and frequency matches the voltage and frequency of your power source
BEFORE connecting amplifier to the power source. The amplifier’s rated power supply voltage and frequency are clearly indicatedon the back panel near the power inlet, and the power cord’s plug should match the power source in your region.
10. Protect the power cord from being walked on, pinched, or from excessive stress, particularly at the plug and attachment point of theapparatus.
11. Only use attachments and/or accessories specified by the manufacturer.
12. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as thepower plug or cord is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed torain or moisture, does not operate normally or has been dropped.
13. To ensure proper ventilation, ensure that there is a minimum of 4” (10cm) of space at the rear of the apparatus. The ventilation
should not be impeded by covering the ventilation openings with items such as newspapers, cloth, tapestries, curtains, etc. Do not
impede ventilation by placing objects on top of the apparatus which extend past the rear edge of the cabinet.
14. No naked flame sources, such as lighted candles or oil lamps, shall be placed on the apparatus.
15. The apparatus shall not be exposed to dripping or splashing, and insure that no objects filled with liquids, such as vases or beverages,
are placed on the apparatus.
16. The AC plug is the mains disconnect, the plug shall remain accessible after installation.
17. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
18. WARNING: Do not defeat the safety grounding pin on the power cable, it is there for your safety.
19. WARNING: Do not open or perform any internal modifications on this apparatus.
20. WARNING: Do not attempt to repair the apparatus, or replace parts within it (except where this manual provides specific instructions
directing you to do so). Refer all servicing to your retailer, the nearest authorized Mesa Boogie Service Center, or authorized Mesa
Boogie distributor in your region.
21. WARNING: Always disconnect the apparatus from the power source before changing fuses, tubes or removing the chassis for service.
Use only the same type and rating as specified on the back of the apparatus when replacing a fuse.
22. WARNING: Disconnect apparatus from the power source during a lightning storm or when unused for long periods of time.
23. WARNING: This apparatus is heavy. Insure that the apparatus remains stable after installation.
24. WARNING: In areas where children may be present, use additional precautions as needed to protect the children from the hazards
presented by the unit. This includes risk of electric shock, burns and toppling over.
25. CAUTION: This apparatus contains hot components and surfaces. Avoid direct contact with heated tubes and other components.
Insure that any factory installed guards remain installed.
26. CAUTION: Avoid contact with moving fan blades that may be present within the apparatus or cabinet.
27. CAUTION: tube envelopes are glass and can present a hazard if broken. Always turn apparatus off, disconnect from the powersource, and allow to cool before changing tubes.
28. CAUTION: To avoid damaging your speakers and other equipment, turn off the power of this and all connected equipment before
making or changing connections. power apparatus up with the volume levels set to minimum, and slowly increase to desired level.
29. CAUTION: Always insure that the proper speaker load is connected to the apparatus before operating the apparatus. Failure to do so
may cause damage to the apparatus.
30. CAUTION: Do not use excessive force when handling cords, jacks, buttons, switches and controls. Never unplug the apparatus fromthe power source by pulling on the wire, use the plug body.
31. CAUTION: This apparatus, in combination with speakers and/or headphones, may be capable of producing sound levels that could
cause permanent hearing loss. Do not operate for a long period of time at high levels, or at a level that is uncomfortable, without
hearing protection. If you experience any hearing loss or ringing in the ears, you should immediately stop using the apparatus andconsult an audiologist.

[rev. 12/18/2020]
1

OVERVIEW
Congratulations on your new Gibson Falcon 20, and welcome to the Gibson Brands Family! This amplifier traces
its roots back to the 1960s and a magical time in the company’s history when many classics were created inboth the guitar and amplifier domains, among them the 20-watt Gibson Falcon. This often-overlooked icon has
been resurrected and improved, thanks to the vast experience and expertise Randall Smith and the Mesa/Boogie
Design Team have garnered over their five decades creating high-performance tube amplifiers and have brought
to this design.
The original Falcon is a classic with a voice and flavor all its own, and for vintage Falcon fans, that character iswell preserved here. However, even Falcon aficionados will appreciate the improved attack characteristics, lowend definition, and better tracking we’ve brought to this interpretation, especially when driven toward clip. Once
there, these new attributes only enhance the story and make some of the Falcon’s coolest overdriven powersounds even better.
For those players that like the Falcon’s unique cathodyne driver pushing the power section into max clip, fear not;these enhancements embellish that experience, too, leaving the “controlled implosion” intact and as expressive
as ever. For those needing a less driven sound, the single TONE control provides a surprising array of colors tocreate evocative jazz, blues, classic, and alternative rock sounds.
The patented Multi-Watt Power switch is a Falcon upgrade you’ll appreciate that allows three distinct Class A
wattage options, each with their own character: FULL running two tubes Pentode (at 12watts/6V6s) for maximum
power, punch, and dynamic sensitivity, HALF using two tubes wired Triode (at 5 watts/6V6s) for reduced power
and a warmer, smoother clip and LOW also running two tubes in Triode (at 1 watt/6V6s) for the lowest wattage,
lowest volume applications.
Add to that the ability to swap in bigger 6L6 power tubes with no changes of any kind needed for a bit of additional
power (15w/6w/2w), midrange punch and focus and a bolder voice, and you have a vintage amplifier truly
reimagined!
All-tube analog spring Reverb rounds the edges and adds dimensional character to the already great array ofsounds. Anything from subtle enhancement up to full-on surf levels of lush spring Reverb is possible and enhances
the enjoyment of this vintage-voiced amplifier greatly.
The finishing touch comes in the form of one of the world’s coolest Tremolo circuits. This classic circuit manipulates
the Driver signal and produces a smooth, lush tremolo effect that can roam between subtle modulation up to a
deep breathing effect or fast pulsation, depending on the Frequency setting, that spells old school in plain print.
This tremolo effect is as great for Clean work as it is for overdrive sounds and adds wonderful dimension to any
sound it is applied to.
We take great pride in resurrecting and revitalizing the Falcon 20 (as well as Falcon 5) and the Gibson amplifierline and its legacy, and we hope you enjoy the results of our hard work. They deliver and even outperform theseclassics’ original voice and texture and are designed to bring you years of great tone and inspiration.
Let’s review some helpful hints that may make your initial sessions with the Falcon more enjoyable.
2

FALCON 20 - TOP PANEL

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

TONE

0

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

FALCON 20 - REAR PANELGIBSON FALCON 20
ALL TUBE AMPLIFIERPATENTEDAMPLIFIER
44YV

WARNING:
Replace fuse with same type/rating only.
Do not expose to rain or moisture.

CAUTION:
Risk of Electric Shock. Do Not Open.
No user serviceable parts inside.

7,173,488

HAND-WIRED INPETALUMA, CA, USA

AMPLIFIERSREVSHIELDMONITOR

4Ω OUT

4Ω OUT

8Ω OUT

TUBE GUIDE2 X 6V6 or 6L6
4 X 12AX7
INSIDE

POWER

FUSE

120 V~ 1.25 A
60 Hz
SLO
1.25 A BLO

HELPFUL HINTS
WARM-UP! Always begin playing sessions with the following Cold Start Procedure at Power Up:
1.	 With the STANDBY in the OFF position, Flip POWER to ON
2.	 Wait at LEAST 30 Seconds
3.	 Flip STANDBY to ON ...and Enjoy!
Following this Cold Start Procedure will help ensure reliability and prolong the toneful life of your tubes, especiallythe power tubes. Like an incandescent light bulb that has a filament, much wear and stress on your tubes occurs
at the instant of powering up from a cold state. Much like a dimmer on a light switch being set low when you first
flip it on, the STANDBY being OFF at the instant of power up – and for at least 30 seconds afterward - allows fora warm-up period and minimizes the shock on tube filaments when they are cold. If you follow this procedure
every time you power up your amplifier, the likelihood of experiencing tube issues will be decreased while theirlongevity will be increased.
POWER INTEGRITY AND PROTECTION! IMPORTANT! NEVER ALTER YOUR POWER CABLE! Be sure to connect
all three terminals of your Power Cable, including the Ground! Failure to do so and/or modifying your Power Cablein any way – including using a 3-2 Ground Lift Adapter - may void your Warranty and increase the risk of Electric
Shock. Always connect your amplifier to a 3-Pin Grounded AC Wall Receptacle with the proper AC Line Voltage
present (117 Volts US/Domestic).
PROTECT YOUR TONE! It’s always a good idea to use a high-quality Shielded Instrument Cable of a reasonable
length - say no more than 15 feet for your instrument to amplifier connection ...unless you plan on using a Buffer.
This will ensure the best sound and prevent loss of top end due to increased cable capacitance that can rob yourinstrument signal of its integrity.
STRAIGHT-IN IS BEST - BUFFER THE REST! When inserting a pedal setup on your front end (between the guitar
and the amp’s INPUT), keep in mind that EVERYTHING you put in your signal path affects the sound. You’vechosen a high-end, professional instrument in your new amplifier, and it stands to reason that your guitar is likelyof similar quality. Try not to compromise that discernment by placing devices of lesser integrity in the signal path.
If you have a string of pedals you rely on for boost, overdrive, wah, compression, and other effects on the frontend (i.e., on the Input), we suggest employing a Buffer in your signal chain to make sure you keep levels and
impedances at their optimum and avoid excess cable capacitance created in all the additional wiring. Buffers
3are small, affordable devices readily available through many reputable companies. Your Tone will be well-served
if you employ one to mitigate any loss incurred by the addition of your front-end effects and extra cabling.
STAY CONNECTED! Sound waves transmit through objects and your body. This can be a good thing when playing
electric guitar. It is preferable to have the combo amplifier or a cabinet sitting on the floor you are standing or
sitting on while playing. The transmission, especially of the low end, will affect how the instrument feels to play.
Keeping one speaker cabinet on the floor ensures the instrument, the amp, and your body are connecting andresonating in a harmonious, sympathetic feedback loop that makes playing your amp more emotionally satisfying
and ultimately more expressive.
NOTE: The exception to this advice above can be when you are playing on stages with many live microphones
cranked up and/or there are large monitors and subwoofers nearby (especially if too big and too many) ...orwhen the stage itself is extremely resonant in the lower frequencies. In any of these cases, it may be necessary
to lift your cabinetry or combo amplifier off the floor, or sometimes even off a Drum Riser, to de-couple it fromthe floor and even your instrument to prevent feedback. This type of feedback usually occurs in the low end.
In some cases and certain environments, alternatively, you can trim the low end in the live microphones via
the Mixing Console and then be able to keep the amplifier coupled to (sitting on) the floor or stage. Havingsome coupling through the floor will likely always feel better to you and your hands.
INPUTS 1 & 2 ...Headroom! The two INPUTS on your Falcon are wired for different degrees of headroom (Input
sensitivity), and depending on what sounds you are searching for, they can be optimized through your choice of
Inputs.
INPUT 1 – NORMAL: This is the higher gain/lower headroom Input, and it delivers your instrument’s full-strength
pickup signal to the preamp. This allows for easier clipping/overdrive of both preamp and power amp, and when
fed here, the sounds will be fuller and a bit punchier and bolder as well. This is the optimum input if you want topush the amplifier toward clip and get some natural tube overdrive. Feel free to use this input for cleaner sounds
as well, but you will start to see break up sooner, and with many instruments, transition into overdrive at about
11:00 -12:00 on the VOLUME control.
INPUT 2 – LOW: This input pads down the input signal and allows you to postpone the edge of clip until higher
settings of the Volume control and stay cleaner longer. When searching for edge-of-clip transition sounds, it canbe a way to “ease on” the overdrive and achieve more of a subtle breakup. It also changes the tone and rolls off
some of the immediacy in the higher frequencies.
SPEAK ACCORDINGLY! Cabinetry and speaker choice are hugely important to achieving the sound you want andoptimizing the amplifier to styles of music you may wish to play. Your Falcon offers an incredible marriage between
the two with its high-quality Alnico speaker and rugged yet resonant open-back Combo cabinet.
Even with a Combo, you can add or substitute extension cabinets to tune your amplifier to the stylistic applicationor environment and tune the sound physically, in addition to electronically, with the controls.
OPEN BACK cabinetry leans toward balanced, open-sounding clean sounds, adding three-dimensionality andclarity in the top end and a low-end character with more “air” in the mix.
CLOSED-BACK cabinetry adds focus and a tighter tracking element, especially in the low end, as well as definitionand punch in the rest of the spectrum. Some players use a combination of both (open and closed-back) at thesame time to achieve a balance of the two different characteristics. Others lean one way or another in accordancewith their favored musical style, sounds, or popular artists.
At some point, explore the options in each category to see if perhaps one or the other of these different designs
unlocks sounds and response characteristics you’ve imagined but may not have yet attained with your amplifier.
You may be surprised at what percentage of a given sound speakers and cabinets account for.
COVERAGE BEATS POWER! Adding additional cabinetry increases your (stage) volume and “coverage” far4

more than increasing wattage in an amplifier’s power section. If you need to hear yourself better, try adding an
Extension Cabinet.
NOTE: When adding Extension Cabinet(s), make sure you keep the Impedance Load on your amplifier correct.
Most MESA Cabinets are wired for an 8 Ohm Load. MESA Cabinets built post-mid-90s feature a Parallel
jack on the Cabinet’s Rear Jack Plate, and this is one way to connect an additional cabinet. When doing so
via this method, be sure to move the cabinet connected to your amp’s 8 Ohm Speaker Output over to the 4
Ohm Speaker Output (assuming the cabinet you are adding is also rated at 8 Ohms).
POWER IS COOL TOO! In your search for the most headroom possible and boldest voice, don’t forget you canswap the Stock pair of 6V6 Power Tubes for bigger 6L6s. This easy, fast change-out adds a few watts of powerand headroom but, just as importantly, offers a bit more upper midrange boldness and punch while extending
the low end a bit for a shot of big amp flavor and feel. When doing this easy swap, it is preferable/best to use amatched set of Tubes, preferably a MESA pre-tested, matched set.
NOTE: Remember to loosen/spread apart – and then reposition – the Spring Steel Tube Clamps before
removing – and when reinstalling – power tubes. Also, make sure to line up the guide bump on the tube’sbase with the slot in the amplifier’s tube socket when installing power tubes.
FUSE REPLACEMENT The Mains Fuse is there to help protect your amplifier from spikes or power surges in the
AC Line, faulty or arcing power tube issues, and other forms of duress your amplifier might encounter. If the Fuse
should ever blow, ALWAYS replace your Fuse with the same type and power rating Fuse.

INSTANT GRATIFICATION
Follow the instructions/illustrations below for examples of what the amplifier can do with its simple controls:
CLEAN: 		

INPUT 2, VOLUME @ 9:00-10:00, TONE @ 11:00, REVERB @ 9:30

OVERDRIVE:INPUT 1, VOLUME @ 1:00, TONE @ 12:00, REVERB @ 9:00

IMPLOSION:INPUT 1, VOLUME @ 5:00 (max), TONE @ 2:00, REVERB @ 9:00

TOP PANEL
1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

VOLUMEBASS

TREBLE

TONE

0

10

REVERB

0

10

DEPTH

0

10

FREQUENCY20

ON

INPUTSThe Falcon incorporates two inputs to offer a reduced signal option for higher headroom clean work.
INPUT 1 is the standard, full-strength input, and it should be used for the easiest, smoothest transition to clip and/or anytime you want a bolder, punchier response with maximum attack as well as the maximum overdrive potential.
INPUT 2 pads (reduces) the signal coming from your instrument and postpones input stage saturation. This input
would be the choice for clean playing at the low end of the VOLUME control, where you want the cleanest soundpossible and a reduced attack transient. Being a lower-power amplifier, the Falcon begins to clip and run out of5

headroom fairly quickly, even below what may be needed for playing with a drummer. This padded number 2 Input
offers additional preamp headroom and a way to stay cleaner longer when desired. Still, even with INPUT 2, it isnormal with most instruments to see saturation and overdrive begin at around 10:00 – 10:30 on the VOLUME
control.

VOLUME
This control determines the overall gain structure of the amplifier, both in the preamp as well as the power section’s
output. There is a wide range of gain available on the control, and it might be viewed like this:From 7:30 (off) to about 9:30, a relatively “normal/traditional” gain structure is displayed on the control. Thisregion, especially in INPUT 2, delivers clean sounds in the traditional (clean) spectrum. INPUT 1, having no pad,delivers a bit more gain, so these sounds venture into the edge of clean/soft clip territory.
From 9:30 to 1:00, the VOLUME delivers a dynamically usable range of gain where you can drive the amp into
clip more progressively with the attack amplitude (strength) and/or the instrument’s volume knob setting. The
closer the VOLUME gets to 1:00, the more overdrive will be the dominant characteristic, especially with the
instrument’s output maxed.
From 1:00 to 5:30, the sound becomes very saturated and overdriven. For a traditional-looking amplifier withsuch vintage roots, it is quite surprising how much gain is possible in this part of the VOLUME control’s range. At
the very top of the VOLUME control’s rotation, you will find an anomaly that has become popular in some circles:
the “imploding effect.” This sound is somewhat akin to an amp blowing up mixed with a fuzz pedal, but here it
sounds as if the amp is going to “fold in on itself,” especially in the low end. This effect somewhat resembles what
a compressor set to very high limiting parameters does, though it occurs here in a more organic and musically
expressive way. It has become a sought-after characteristic for some guitarists and has caused the ‘60s-era lowpower Gibson amps to have an enthusiastic fan base.

TONE
This single control takes the place of the standard Tone Stack that separates the frequency ranges (highs, lows,
and midrange) into TREBLE, MID, and BASS on three separate controls. The TONE shapes the signal in a simple
one-knob solution to add color and achieve either brighter or darker sounds. The best balance of these frequencies
is found in the middle range of the TONE control (10:30 – 1:00), and that is a great place to start when searchingfor great sounds. There are usable sounds throughout the control’s range, and even some at the extreme ends,
but for most applications, you will likely find yourself in the middle region and often just shy of 12:00/noon.
Keep in mind that – due to the Falcon’s lower output power (wattage) – when you are clipping the power section,and especially when doing so heavily, the TONE control will have less and less effect on the sound. When the
power section is pushed into maximum clip, or anywhere near it, there will be very little control possible overthe sound with the TONE control, as the character of the power section (saturating) will largely overrule what ishappening in the preamp.

REVERB
This control allows blending of the analog spring Reverb signal with the amplifier’s straight (dry) sound from which
it is originally derived. Set all the way off at 7:30, the Reverb effect will not be heard at all. As the control is moved
clockwise and turned up toward 12:00/noon, more and more Reverb will be introduced into the mix until at 3:00
or beyond, the sound will be drenched in lush, ambient Reverb.
The sound of the Reverb is tuned to reflect the character of the amplifier, and being an old school, traditional6

design, the voicing of the Reverb is less refined and more “low tech” purposefully in order to authenticate further
the Falcon’s personality. The cleanliness of the Reverb sound follows the INPUTS in that cleaner, lower-gain sounds
will be experienced (and sent through the Reverb tank) when your instrument is feeding INPUT 2. Likewise, a more
overdriven sound will be fed to the Reverb tank when your instrument is feeding INPUT 1, and this is especiallytrue as the VOLUME is increased past 11:00.
The Reverb effect may be toggled on and off using the REVERB button on the supplied Falcon Footswitch. Connect
the Footswitch to the Falcon 20’s FOOTSWITCH jack adjacent to the INPUTS with the supplied Stereo Footswitch
Cable.

TREMOLO
These two controls, DEPTH and FREQUENCY, make up the user interface portion of the Tremolo section of theFalcon. When the DEPTH is set at 7:30/all the way off/counterclockwise, the Tremolo will be, for all practical
purposes, bypassed.
The DEPTH knob controls how deeply the Tremolo effect will modulate the signal. It can also be thought of as amix or blend control, as its setting will determine how much you hear/experience the Tremolo effect. Set between
7:30 (off) and 10:30, the Tremolo effect will be either off or very subtle, and at times, you may wonder if it is evenworking at all. From 10:30 - 1:30, the Tremolo effect will become more and more apparent in the mix. Above 1:30
on the DEPTH, strong, deep modulation will be experienced, and this is where the amplifier will begin to breathe
deeply. For most players, high DEPTH settings are most often associated with lower/slower FREQUENCY settings.
This combination produces iconic Tremolo effects that can greatly enhance slower-tempo songs and parts.
FREQUENCY controls the rate or speed the signal will be modulated at; therefore, you may often hear it referred
to as Speed. As you might imagine, a lower FREQUENCY setting produces a slower pulse or frequency of themodulation cycles, while higher FREQUENCY settings increase the rate – speed – of the pulse.
Between the settings of these two simple controls, you will find many musically relevant combinations. Often,
you may find lower DEPTH settings work best with high/fast FREQUENCY settings. However, depending on theensemble size and playing environment, on occasion, you may find yourself using higher DEPTH settings withthese higher/faster FREQUENCY settings.
NOTE: The Falcon is a low-power amplifier, and the TREMOLO within it operates in the power section. Therefore,
if the amplifier (via the VOLUME control) is set such that it is near the onset of clip, right at the transition point
between clean and overdrive, you may hear the overdrive/distortion come on and off in correlation to the DEPTH
and FREQUENCY control settings. If this is not ideal for your application, try reducing the DEPTH control a bit tominimize this effect. This often “hides” the clip enough to make it less of an issue. This characteristic is part ofthe signature of the original design of early Gibson amplifiers and their Tremolo circuit, and we chose to honor thisin our recreation of them as the sound is unique and compelling, especially for more traditional styles of music.
The Tremolo effect may be toggled on and off using the TREMOLO button on the supplied Falcon Footswitch.
Connect the Footswitch to the Falcon 20’s FOOTSWITCH jack adjacent to the INPUTS with the supplied Stereo
Footswitch Cable.

POWER SELECT (Multi-Watt)
This switch allows the selection of three wattage options within the CLASS A-wired power section. Each setting
has an associated volume range and character, and they are as follows:•

FULL delivers the full power (12 watts/6V6s) and utilizes both 6V6 power tubes for a balanced, bubbly
sound and feel with maximum (clean) headroom (using INPUT 2) and robust, girthy overdrive at the highest
playing volumes when using INPUT 1.
7

•

HALF reconfigures the output tubes to TRIODE wiring and reduces the wattage (5 watts/6V6s), headroom,
and available volume by roughly half. This setting delivers a slightly warmer, sweeter response with a bit ofsoftening and rounding of the top end.

•

LOW rewires the output tubes once more, again to TRIODE, and reduces the available volume and power evenfurther (1 watt/6V6s) while warming the response even more to create the ultimate low wattage range.It provides theperfect practicing setting for late-night exploration in home environments as well as whisper soft recording volumes
well suited to bathrooms, closets, or anywhere super low volumes must be used in a makeshift “tracking room.”
In your search for the most headroom possible and boldest voice, don’t forget you can swap the
Stock pair of 6V6 Power Tubes for bigger 6L6s. This easy, fast change-out adds a few watts of powerand headroom (15w/6w/2w), but, just as importantly, offers a bit more upper midrange boldness andpunch while extending the low end a bit for a shot of big amp flavor and feel. When doing this easyswap, it is preferable/best to use a matched set of Tubes, preferably a MESA pre-tested, matched set.
NOTE: Remember to loosen/spread apart and then reposition the Spring Steel Tube Clamps before removalof, and during reinstalling, power tubes. Also, make sure to line up the guide bump on the tube’s base withthe slot in the tube socket when installing power tubes.

POWER
This is the AC Mains Power Switch. The ON position supplies the amplifier with the AC voltage present at the Wall
Socket – Domestic Rating = 117 Volts (120V). Make sure the amplifier’s power cable (supplied) is firmly seatedin its IEC socket on the amplifier chassis’ rear and that it is connected to a grounded power source that accepts
the standard 3-prong plug.
NOTE: Never alter or modify your power cable! Do not use Ground Lift Adapters (3 to 2 adapters)! Doing so
will void your warranty and put you at risk of electric shock.
Always begin playing sessions with the following Cold Start Procedure at Power Up:
1.	 With the STANDBY in the OFF position, Flip POWER to ON
2.	 Wait at LEAST 30 Seconds
3.	 Flip STANDBY to ON ...and Enjoy!
Following this Cold Start Procedure will help ensure reliability and prolong the toneful life of your tubes, especiallythe power tubes. Like an incandescent light bulb that has a filament, much wear and stress on your tubes occurs
at the instant of powering up from a cold state. Much like a dimmer on a light switch being set low when you first
flip it on, the STANDBY being OFF at the instant of power up – and for at least 30 seconds afterward – allows thetubes to warm up and minimizes the shock on their filaments when they are cold.

STANDBY
As mentioned in the POWER SECTION, the STANDBY provides a warm-up/idle state for the tubes. It should ALWAYS
be used at power up, even if the amp’s chassis is warm to the touch from recent use. This is because tubes cool
far more quickly than other components like the chassis, and even when they are warm, it is far easier on themto have 30 seconds of warm-up/prep time before being hit with the high voltage.
The STANDBY also doubles as a mute feature for set-up before and breaks during a performance. Use the
STANDBY any time you pause from playing and want to keep your amplifier in a warm and ready state. If you’regoing to take a break for a couple of hours, it’s probably best to power down to save electricity; just be sure to8use the Cold Start Procedure (under the POWER instructions above) when you return and want to power backup and use the amplifier again.
NOTE: A little preemptive troubleshooting instruction here that you may never need but is good to know
anyway as a tube amp owner/user:
Should you ever flip the STANDBY to ON and hear a loud hum or loud static, or should you smell something
hot/burning, quickly flip the STANDBY to OFF. What you could potentially be hearing (or smelling) may be a
power tube arcing or shorting. While this is rare, it can happen if a power tube becomes faulty. In the event itever does occur, flipping the amplifier to STANDBY stops the incident right away. On occasion, it will correct
the problem, but often it can reoccur. You can troubleshoot the problem using the method below:
While looking at the Rear of the amplifier and watching the power tubes while only the POWER switch isturned on (you may need to move the Tube Cage by unhooking the nylon clips and moving it out of the way
or removing it altogether), flip the STANDBY to ON.
If a power tube(s) is arcing or shorting, you will likely see it flashing brightly rather quickly or perhaps glowing
red in the tube’s center metal parts more than the rest of the set. Sometimes, an arcing or shorting tube canpull its paired counterpart out of bias and cause it to “run away” as well. Regardless, flip the STANDBY to OFF.
Get an “OV-Glove” or similar method of hand protection (leather gloves, a rag, etc.) to grab the hot tube! Do
NOT use your bare skin, as the tubes will be very HOT!
Push up the spring steel Tube Clamp(s) and gently rock the faulty tube back and forth slightly while pullingit down and out of its socket. Notice the orientation of the tube guide (raised bump) on the plastic piece inthe center of the tube’s base.
Gently and slowly and making sure the Tube Guide is aligned with the slot in the socket, install a new tube of
the same type and color rating (preferably matched MESA Tubes) as the one(s) removed if possible. Again,
make sure to line up the plastic guide bump with the slot in the tube socket’s center hole. Make sure the tube
is seated completely in the tube socket and that the tube filaments light up. If they are not lit up and glowing
orange, check the tube’s orientation and that it is seated firmly and completely into the socket.
Flip the POWER switch to ON and wait at least 30 seconds.
While watching the rear of the amplifier – and specifically the power tubes again – flip the STANDBY switch
to ON.
If you do not see any unusual flashes or brightly glowing (red hot) metal in the center of any of the tubes,
you have remedied the issues and are ready to enjoy your amplifier again.
If you see a flash or the center of the tube glowing bright red in the center of the metal inside the glass, repeat
the steps in this troubleshooting section again using another/different (hopefully known good) power tube.

REAR PANELGIBSON FALCON 20
ALL TUBE AMPLIFIERPATENTEDAMPLIFIER
44YV

WARNING:
Replace fuse with same type/rating only.
Do not expose to rain or moisture.

CAUTION:
Risk of Electric Shock. Do Not Open.
No user serviceable parts inside.

7,173,488

HAND-WIRED INPETALUMA, CA, USA

AMPLIFIERSREVSHIELDMONITOR

4Ω OUT

4Ω OUT

8Ω OUT

TUBE GUIDE2 X 6V6 or 6L6
4 X 12AX7
INSIDE

POWER

FUSE

120 V~ 1.25 A
60 Hz
SLO
1.25 A BLOMONITOR
This ¼” output captures the entire sound of the amplifier, both preamp and power amp, from the Speaker Outputs
9and acts as a padded SEND for feeding additional power amplifiers that could drive additional cabinetry for bigger
stage applications.
It can also be used as a Line Out of sorts to send IR readers/players an unprocessed signal, feed a parallel signal
to a console for re-amping purposes, or to feed external processing that sends a signal on to additional poweramps and cabs.
Keep in mind there will be no Cabinet Simulation or complex roll-off of the top end and other shaping that occurs
naturally with a guitar speaker and cabinetry and their reactive load components, so the sound may be harsh,
bright, and unruly here in comparison to what you are used to hearing coming from your cabinet. The same
holds true for DI recording outputs you may have tried that contain cabinet simulation circuits or DSP software.
Depending on the application, the MONITOR’s signal may require some treatment or EQ’ing at its destination
using whatever method and manner best suits your needs.

SPEAKERS (OUTPUTS)
These jacks deliver your amplifier’s power to your speakers. One 8 OHM and two 4 OHM OUTPUTS are provided
to accommodate a wide range of cabinetry options.
When using the Combo’s speaker or a single 8 Ohm cabinet, use the 8 Ohm Output. This provides a proper
impedance match, and in the Full Power setting, this setup will deliver the maximum power and headroom.
When using two 8 OHM cabinets - such as two 1x12 Extension cabinets or two 8 Ohm 4x12 cabinets, the two
4 OHM SPEAKER Outputs should be used, one cabinet to each 4 OHM SPEAKER Output jack. Though eachcabinet will present a mismatch, together. the total impedance load will be 8 Ohms, and this also will be a proper
impedance match.
One 4 OHM cabinet (such as a 2x12 using 8 Ohm speakers wired in parallel) should be connected to one of thetwo 4 OHM SPEAKER Outputs.

That wraps up the Rear Panel Features and Functions of your Falcon 20, and at this point, you should be ready to
explore its vintage-inspired sounds on your own. Thank you for choosing Gibson to be your amplifier company! We
hope your Falcon brings you many years of inspiration and creative fun and becomes one of your prized musicalinstruments.
From all of us in the Gibson Family,
Enjoy!

10

SAMPLE SETTINGS
VINTAGE CLEAN

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCYFURRY CLEAN

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

FALCON DRIVE

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

IMPLODING

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

VOLUMEBASS

TREBLE

TONE

0

10

REVERB

11

0

10

DEPTH

0

10

FREQUENCY20

ONSAMPLE SETTINGSDRENCHED CLEAN

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCYRETRO BALLAD

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

VIBEY

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

FUR AND FRENZY

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

VOLUMEBASS

TREBLE

TONE

0

10

REVERB

12

0

10

DEPTH

0

10

FREQUENCY20

ONPLAYER SETTINGS

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

BASS

VOLUMETREBLE

0

TONE

10

0

REVERB

10

DEPTH

0

10

ON

20

FREQUENCY

1

ON
FULL

INPUT

POWER
STANDBY

HALF

FTSW
LOW

2

0

10

VOLUMEBASS

TREBLE

TONE

0

10

REVERB

13

0

10

DEPTH

0

10

FREQUENCY20

ONTUBE CHART

INPUT

V1

V6

V2

V5

6V6 or 6L6

12AX7 x4

6V6 or 6L6

V3

FALCON 20

V4POWERAMPREAR VIEW - BACK REMOVEDPREAMP

FULL POWER - V5 & V6 PENTODEHALF POWER - V5 & V6 TRIODELOW POWER - V5 & V6 TRIODEIMPORTANT!
POWER TUBE TYPE MUST MATCH

V1A - INPUT / 1ST GAIN STAGE
V1B - 2ND GAIN STAGE
V2A&B - REVERB DRIVER STAGE
V3A - 3RD GAIN STAGE
V3B - REVERB RETURN STAGE
V4A - PHASE INVERTER
V4B - TREMOLO LFO STAGE

TOP OF CHASSISBOTTOM OF CHASSIS14INPUT

FTSW JACK - 619391

15

10

TONE

0

REVERB

10

KNOBS - 408682 x5

TREBLE

590125
0

DEPTH

10

590738POT
10EXPORT - 795630

DOMESTIC - 790125

FUSE:

EXPORT - 790346

DOMESTIC - 790347

FUSE HOLDER:AMBER LENS - 703601

AC JACK - 613713

HALF

20

POWER
STANDBY

WATTAGE SWITCH - 607333

OUTPUT / MONITOR JACKS - 619112 x4
REVERB JACK PCB - 620300

LOW

FULL

ON

ON

PWR/STANDBY SWITCHES - 600626 x2

FREQUENCY

0590791POT

TUBE COVER STANDOFF - 404065 x4

BASS590792POT

BULB - 703047

VOLUME

0590739POT

TUBE COVER - 380008

FTSW

POT

LIGHT HOLDER - 703850

INPUT JACKS - 619112 x2

2

1

PARTS LISTSERVICE INFORMATIONIn the USA and CANADA, for technical support, troubleshooting, tone questions, settings help and more…
Call us at 1 800 4Gibson (1 800 444 2766), or email us at service@Gibson.com
NOTE: If a Product Specialist is not available when you call, please leave a voice message with your phone
number and the best time to call you and we will call you back!
For warranty and technical support outside of the USA and CANADA, contact your local Gibson Amplifier
Distributor. You may use this link to search the web for your local distributor’s contact information:
www.gibson.com/find-a-store

www.gibson.com/support

16

Scan to download Gibson Amplifier product manuals in additional languages.
Or, visit www.gibson.com

GI B SON BRANDS IN C . , NASH V I L L E , T E NNE SSE E
23/10/12